Legends of the Madonna as Represented in the Fine Arts Part 24

Hallam says, that "it would be difficult to find its equal for purity, elegance, and harmony of versification." It is not the less true, that even its greatest merits as a Latin poem exercised the most perverse influence on the religious art of that period. It was, indeed, only _one_ of the many influences which may be said to have demoralized the artists of the sixteenth century, but it was one of the greatest.]

The Nativity of our Saviour, like the Annunciation, has been treated in two ways, as a mystery and as an event, and we must be careful to discriminate between them.

THE NATIVITY AS A MYSTERY.

In the first sense the artist has intended simply to express the advent of the Divinity on earth in the form of an Infant, and the _motif_ is clearly taken from a text in the Office of the Virgin, _Virgo quem genuit, adoravit._ In the beautiful words of Jeremy Taylor, "She blessed him, she wors.h.i.+pped him, and she thanked him that he would be born of her;" as, indeed, many a young mother has done before and since, when she has hung in adoration over the cradle of her first-born child;--but _here_ the child was to be a descended G.o.d; and nothing, as it seems to me, can be more graceful and more profoundly suggestive than the manner in which some of the early Italian artists have expressed this idea. When, in such pictures, the locality is marked by the poor stable, or the rough rocky cave, it becomes "a temple full of religion, full of glory, where angels are the ministers, the holy Virgin the wors.h.i.+pper, and Christ the Deity."

Very few accessories are admitted, merely such as serve to denote that the subject is "a Nativity," properly so called, and not the "Madre Pia," as already described. The divine Infant lies in the centre of the picture, sometimes on a white napkin, sometimes with no other bed than the flowery turf; sometimes his head rests on a wheat-sheaf, always here interpreted as "the bread of life." He places his finger on his lip, which expresses the _Verb.u.m sum_ (or, _Vere Verb.u.m hoc est abbreviatum_), "I am the word," or "I am the bread of life" (_Ego sum panis ille vitae._ John vi. 48), and fixes his eyes on the heavens above, where the angels are singing the _Gloria in excelsis._ In one instance, I remember, an angel holds up the cross before him; in another, he grasps it in his hand; or it is a nail, or the crown of thorns, antic.i.p.ative of his earthly destiny. The Virgin kneels on one side; St. Joseph, when introduced, kneels on the other; and frequently angels unite with them in the act of adoration, or sustain the new-born Child. In this poetical version of the subject, Lorenzo di Credi, Perugino, Francia, and Bellini, excelled all others[1].

Lorenzo, in particular, became quite renowned for the manner in which he treated it, and a number of beautiful compositions from his hand exist in the Florentine and other galleries.

[Footnote 1: There are also most charming examples in sculpture by Luca della Robbia, Donatello, and other masters of the Florentine school.]

There are instances in which attendant saints and votaries are introduced as beholding and adoring this great mystery. 1. For instance, in a picture by Cima, Tobit and the angel are introduced on one side, and St. Helena and St. Catherine on the other. 2. In a picture by Francia (Bologna Gal.), the Infant, reclining upon a white napkin, is adored by the kneeling Virgin, by St. Augustine, and by two angels also kneeling. The votary, Antonio Galeazzo Bentivoglio, for whom the picture was painted, kneels in the habit of a pilgrim.[1] He had lately returned from a pilgrimage to Jerusalem and Bethlehem, thus poetically expressed in the scene of the Nativity, and the picture was dedicated as an act of thanksgiving as well as of faith. St. Joseph and St. Francis stand on one side; on the other is a shepherd crowned with laurel. Francia, according to tradition, painted his own portrait as St. Francis; and his friend the poet, Girolamo Casio de' Medici, as the shepherd. 3. In a large and famous Nativity by Giulio Romano (Louvre, 293), which once belonged to our Charles I., St. John the Evangelist, and St. Longinus (who pierced our Saviour's side with his lance), are standing on each side as two witnesses to the divinity of Christ;--here strangely enough placed on a par: but we are reminded that Longinus had lately been inaugurated as patron of Mantua, (v.

Sacred and Legendary Art.)

[Footnote 1: "An excellent likeness," says Vasari. It is engraved as such in Litta's Memorials of the Bentivogli. Girolamo Casio received the laurel crown from the hand of Clement VII. in 1523. A beautiful votive Madonna, dedicated by Girolamo Casio and his son Giacomo, and painted by Beltraffio, is in the Louvre.]

In a triptych by Hans Hemling (Berlin Gal.) we have in the centre the Child, adored, as usual, by the Virgin mother and attending angels, the votary also kneeling: in the compartment on the right, we find the manifestation of the Redeemer to the _west_ exhibited in the prophecy of the sibyl to Augustus; on the left, the manifestation of the Redeemer to the _east_ is expressed by the journey of the Magi, and the miraculous star--"we have seen his star _in the east_."

But of all these ideal Nativities, the most striking is one by Sandro Botticelli, which is indeed a comprehensive poem, a kind of hymn on the Nativity, and might be set to music. In the centre is a shed, beneath which the Virgin, kneeling, adores the Child, who has his finger on his lip. Joseph is seen a little behind, as if in meditation. On the right hand, the angel presents three figures (probably the shepherds) crowned with olive; on the left is a similar group. On the roof of the shed, three angels, with olive-branches in their hands, sing the _Gloria in excelsis_. Above these are twelve angels dancing or floating round in a circle, holding olive-branches between them. In the foreground, in the margin of the picture, three figures rising out of the flames of purgatory are received and embraced by angels. With all its quaint fantastic grace and dryness of execution, the whole conception is full of meaning, religious as well as poetical. The introduction of the olive, and the redeemed, souls, may express "peace on earth, good will towards men;" or the olive may likewise refer to that period of universal peace in which the _Prince of Peace_ was born into the world.[1]

[Footnote 1: This singular picture, formerly in the Ottley collection, was, when I saw it, in the possession of Mr. Fuller Maitland, of Stensted Park.]

I must mention one more instance for its extreme beauty. In a picture by Lorenzo di Credi (Florence, Pal. Pitti) the Infant Christ lies on the ground on a part of the veil of the Virgin, and holds in his hand a bird. In the background, the miraculous star sheds on the earth a perpendicular blaze of light, and farther off are the shepherds. On the other side, St. Jerome, introduced, perhaps, because he made his abode at Bethlehem, is seated beside his lion.

THE NATIVITY AS AN EVENT.

We now come to the Nativity historically treated, in which time, place, and circ.u.mstance, have to be considered as in any other actual event.

The time was the depth of winter, at midnight; the place a poor stable. According to some authorities, this stable was the interior of a cavern, still shown at Bethlehem as the scene of the Nativity, in front of which was a ruined house, once inhabited by Jesse, the father of David, and near the spot where David pastured his sheep: but the house was now a shed partly thatched, and open at that bitter mason to all the winds of heaven. Here it was that the Blessed Virgin "brought forth her first-born Son, wrapped him in swaddling clothes, and laid him in a manger."

We find in the early Greek representations, and in the early Italian painters who imitated the Byzantine models, that in the arrangement a certain pattern was followed: the locality is a sort of cave--literally a hole in a rock; the Virgin Mother reclines on a couch; near her lies the new-born Infant wrapped in swaddling clothes.

In one very ancient example (a miniature of the ninth century in a Greek Menologium), an attendant is was.h.i.+ng the Child.

But from the fourteenth century we find this treatment discontinued.

It gave just offence. The greatest theologians insisted that the birth of the Infant Christ was as pure and miraculous as his conception; and it was considered little less than heretical to portray Mary reclining on a couch as one exhausted by the pangs of childbirth (Isaiah lxvi.

7), or to exhibit a.s.sistants as was.h.i.+ng the heavenly Infant. "To her alone," says St. Bernard, "did not the punishment of Eve extend." "Not in sorrow," says Bishop Taylor, "not in pain, but in the posture and guise of wors.h.i.+ppers (that is, kneeling), and in the midst of glorious thoughts and speculations, did Mary bring her Son into the world."

We must seek for the accessories and circ.u.mstances usually introduced by the painters in the old legendary traditions then accepted and believed. (Protevangelion, xiv.) Thus one legend relates that Joseph went to seek a midwife, and met a woman coming down from the mountains, with whom he returned to the stable. But when they entered it was filled with light greater than the sun at noonday; and as the light decreased and they were able to open their eyes, they beheld Mary sitting there with her Infant at her bosom. And the Hebrew woman being amazed said, "Can this be true?" and Mary answered, "It is true; as there is no child like unto my son, so there is no woman like unto his mother."

These circ.u.mstances we find in some of the early representations, more or less modified by the taste of the artist. I have seen, for instance, an old German print, in which the Virgin "in the posture and guise of wors.h.i.+ppers," kneels before her Child as usual; while the background exhibits a hilly country, and Joseph with a lantern in his hand is helping a woman over a stile. Sometimes there are two women, and then the second is always Mary Salome, who, according to a pa.s.sage in the same popular authority, visited the mother in her hour of travail.

The angelic choristers in the sky, or upon the roof of the stable, sing the _Gloria in excelsis Deo_; they are never, I believe, omitted, and in early pictures are always three in number; but in later pictures, the mystic _three_ become a chorus of musicians Joseph is generally sitting by, leaning on his staff in profound meditation, or asleep as one overcome by fatigue; or with a taper or a lantern in his hand, to express the night-time.

Among the accessories, the ox and the a.s.s are indispensable. The introduction of these animals rests on an antique tradition mentioned by St. Jerome, and also on two texts of prophecy: "The ox knoweth his owner, and the a.s.s his master's crib" (Isaiah i. 3); and Habakkuk iii.

4, is rendered, in the Vulgate, "He shall lie down between the ox and the a.s.s." From the sixth century, which is the supposed date of the earliest extant, to the sixteenth century, there was never any representation of the Nativity without these two animals; thus in the old carol so often quoted--

"Agnovit bos et asinus Quod Puer erat Dominus!"

In some of the earliest pictures the animals kneel, "confessing the Lord." (Isaiah xliii. 20.) In some instances they stare into the manger with a most _nave_ expression of amazement at what they find there. One of the old Latin hymns, _De Nativitate Domini_, describes them, in that wintry night, as warming the new-born Infant with their breath; and they have always been interpreted as symbols, the ox as emblem of the Jews, the a.s.s of the Gentiles.

I wonder if it has ever occurred to those who have studied the inner life and meaning of these old representations,--owed to them, perhaps, homilies of wisdom, as well as visions of poetry,--that the introduction of the ox and the a.s.s, those symbols of animal servitude and inferiority, might be otherwise translated;--that their pathetic dumb recognition of the Saviour of the world might be interpreted as extending to them also a partic.i.p.ation in his mission of love and mercy;--that since to the lower creatures it was not denied to be present at that great manifestation, they are thus brought nearer to the sympathies of our humanity, as we are, thereby, lifted to a nearer communion with the universal spirit of love;--but this is "considering too deeply," perhaps, for the occasion. Return we to our pictures.

Certainly we are not in danger of being led into any profound or fanciful speculations by the ignorant painters of the later schools of art. In their "Nativities," the ox and a.s.s are not, indeed, omitted; they must be present by religious and prescriptive usage; but they are to be made picturesque, as if they were in the stable by right, and as if it were only a stable, not a temple hallowed to a diviner significance. The a.s.s, instead of looking devoutly into the cradle, stretches out his lazy length in the foreground; the ox winks his eyes with a more than bovine stupidity. In some of the old German pictures, while the Hebrew ox is quietly chewing the cud, the Gentile a.s.s "lifts up his voice" and brays with open mouth, as if in triumph.

One version of this subject, by Agnolo Gaddi, is conceived with much simplicity and originality. The Virgin and Joseph are seen together within a rude and otherwise solitary building. She points expressively to the manger where lies the divine Infant, while Joseph leans on his staff and appears lost in thought.

Correggio has been much admired for representing in his famous Nativity the whole picture as lighted by the glory which proceeds from the divine Infant, as if the idea had been new and original. ("_La Notte_," Dresden Gal.) It occurs frequently before and since his time, and is founded on the legendary story quoted above, which describes the cave or stable filled with a dazzling and supernatural light.

It is not often we find the Nativity represented as an historical event without the presence of the shepherds; nor is the supernatural announcement to the shepherds often treated as a separate subject: it generally forms part of the background of the Nativity; but there are some striking examples.

In a print by Rembrandt, he has emulated, in picturesque and poetical treatment, his famous Vision of Jacob, in the Dulwich Gallery. The angel (always supposed to be Gabriel) appears in a burst of radiance through the black wintry midnight, surrounded by a mult.i.tude of the heavenly host. The shepherds fall prostrate, as men amazed and "sore afraid;" the cattle flee different ways in terror (Luke ii. 9.) I do not say that this is the most elevated way of expressing the scene; but, as an example of characteristic style, it is perfect.

THE ADORATION OF THE SHEPHERDS.

_Ital._ L' Adorazione del Pastori. _Fr._ L'Adoration des Bergers.

_Ger._ Die Anbetung der Hirten.

The story thus proceeds:--When the angels were gone away into heaven, the shepherds came with haste, "and found Mary, and Joseph, and the young Child lying in a manger."

Being come, they present their pastoral offerings--a lamb, or doves, or fruits (but these, considering the season, are misplaced); they take off their hats with reverence, and wors.h.i.+p in rustic fas.h.i.+on.

In Raphael's composition, the shepherds, as we might expect from him, look as if they had lived in Arcadia. In some of the later Italian pictures, they pipe and sing. It is the well-known custom in Italy for the shepherds of the Campagna, and of Calabria, to pipe before the Madonna and Child at Christmas time; and these _Piffereri_, with their sheepskin jackets, ragged hats, bagpipes, and tabors, were evidently the models reproduced in some of the finest pictures of the Bolognese school; for instance, in the famous Nativity by Annibale Caracci, where a picturesque figure in the corner is blowing into the bagpipes with might and main. In the Venetian pictures of the Nativity, the shepherds are accompanied by their women, their sheep, and even their dogs. According to an old legend, Simon and Jude, afterwards apostles, were among these shepherds.

When the angels scatter flowers, as in compositions by Raphael and Ludovico Caracci, we must suppose that they were not gathered on earth, but in heaven.

The Infant is sometimes asleep:--so Milton sings--

"But see the Virgin blest Hath laid her Babe to rest!"

In a drawing by Raphael, the Child slumbers, and Joseph raises the coverlid, to show him to a shepherd. We have the same idea in several other instances. In a graceful composition by t.i.tian, it is the Virgin Mother who raises the veil from the face of the sleeping Child.

From the number of figures and accessories, the Nativity thus treated as an historical subject becomes capable of almost endless variety; but as it is one not to be mistaken, and has a universal meaning and interest, I may now leave it to the fancy and discrimination of the observer.

THE ADORATION OF THE MAGI.

_Ital._ L' Adorazione de' Magi. L' Epifania. _Fr._ L'Adoration des Rois Mages. _Ger._ Die Anbetung der Weisen aus dem Morgenland. Die heiligen drei Konige. Jan. 6.